Sequenza X

Last updated
Sequenza X
by Luciano Berio
Sequenzarange.jpg
Genre Chamber music
PublishedNovember 19, 1984
InstrumentalTrumpet, piano

Sequenza X is a composition for trumpet and piano by Luciano Berio, the tenth in his series of pieces with this title. The work was commissioned by the Los Angeles Philharmonic for Thomas Stevens, and premiered by him on November 19, 1984. The piece is dedicated to Ernest Fleischmann, managing director of the Los Angeles Philharmonic from 1969 to 1997, who convinced Berio to write a Sequenza for trumpet, despite years of resistance to the idea. Stevens received the music only nine days before the premiere. [1]

Contents

Sequenza X is for trumpet and piano, however the piano is only used as a resonator. Berio requires the pianist to depress the keys on the piano without sounding the instrument. By playing the trumpet into the piano, the strings are made to sympathetically resonate. The effect is so subtle that the piano must be amplified for it to be heard in the auditorium. Berio prescribes a contact microphone solution in his score, whereby the microphones are secured to the underside of the sound board.

Sequenza X requires the trumpeter to employ a variety of extended techniques, including flutter tonguing, pedal tones, and valve tremolos. Much of the musical material focuses on transmuting the timbre of the instrument, often on a single pitch. Techniques such as double tonguing and doodle tonguing are interchanged rapidly and often paired with valve tremolos and hand stops. Like much of the extended technique for brass, Berio's incorporation of doodle tonguing was inspired by jazz trumpeter Clark Terry. However, he misunderstood the method, which produces a very legato, almost drunken-sounding articulation. He repeatedly asked Stevens in rehearsals for a more staccato sounding doodle tongue, eventually acquiescing when he realized it was impossible. [1]

The range of the piece creates an endurance problem for any trumpeter. Though the tessitura is almost entirely in the standard trumpet range, the piece spans over three octaves, and notoriously requires 17 high C's to be played by the trumpeter on the final page. Though the score's lowest note is a C-sharp, Berio had originally wanted a pedal C. Stevens could not produce a pedal C at the volume Berio desired; so, the note was raised a half-step. Both Stevens and Berio agreed that the printed score should include the pedal C, but the change was never made. [1]

The piece has become a standard in the contemporary trumpet repertoire, and has been recorded numerous times, most notably under supervision of the composer by trumpet soloist Gabriele Cassone.

Sequenza X is the basis for Berio's Kol-Od (also called Chemins VI) which adds a small ensemble to accompany the solo trumpet part. Kol-Od was premiered by Gabriele Cassone with the Ensemble InterContemporain, Pierre Boulez conducting, on April 27, 1996 in Basel, Switzerland.

List of techniques

Discography

Related Research Articles

<span class="mw-page-title-main">Effects unit</span> Electronic device that alters audio

An effects unit, effects processor, or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.

In music, a glissando is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. In other contexts, it refers to discrete, stepped glides across notes, such as on a piano. Some terms that are similar or equivalent in some contexts are slide, sweepbend, smear, rip, lip, plop, or falling hail. On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure, except on instruments that have a slide.

<span class="mw-page-title-main">Oboe</span> Double-reed woodwind instrument

The oboe is a type of double-reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites.

<span class="mw-page-title-main">Trombone</span> Brass instrument played with a slide

The trombone is a musical instrument in the brass family. As with all brass instruments, sound is produced when the player's vibrating lips cause the air column inside the instrument to vibrate. Nearly all trombones use a telescoping slide mechanism to alter the pitch instead of the valves used by other brass instruments. The valve trombone is an exception, using three valves similar to those on a trumpet, and the superbone has valves and a slide.

<span class="mw-page-title-main">Trumpet</span> Brass instrument

The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet—with the highest register in the brass family—to the bass trumpet, pitched one octave below the standard B or C trumpet.

Wah-wah is an imitative word for the sound of altering the resonance of musical notes to extend expressiveness, sounding much like a human voice saying the syllable wah. The wah-wah effect is a spectral glide, a "modification of the vowel quality of a tone".

<span class="mw-page-title-main">Transposing instrument</span> Musical instrument for which notated pitch differs from sounding pitch

A transposing instrument is a musical instrument for which music notation is not written at concert pitch. For example, playing a written middle C on a transposing instrument produces a pitch other than middle C; that sounding pitch identifies the interval of transposition when describing the instrument. Playing a written C on clarinet or soprano saxophone produces a concert B, so these are referred to as B instruments. Providing transposed music for these instruments is a convention of musical notation. The instruments do not transpose the music; rather, their music is written at a transposed pitch. Where chords are indicated for improvisation they are also written in the appropriate transposed form.

<span class="mw-page-title-main">Mute (music)</span> Device attached to musical instrument to change its sound

A mute is a device attached to a musical instrument which changes the instrument's tone quality (timbre) or lowers its volume. Mutes are commonly used on string and brass instruments, especially the trumpet and trombone, and are occasionally used on woodwinds. Their effect is mostly intended for artistic use, but they can also allow players to practice discreetly. Muting can also be done by hand, as in the case of palm muting a guitar or grasping a triangle to dampen its sound.

<span class="mw-page-title-main">Natural horn</span> Unvalved ancestor of modern-day horn

The natural horn is a musical instrument that is the predecessor to the modern-day (French) horn. Throughout the seventeenth and eighteenth century the natural horn evolved as a separation from the trumpet by widening the bell and lengthening the tubes. It consists of a mouthpiece, long coiled tubing, and a large flared bell. This instrument was used extensively until the emergence of the valved horn in the early 19th century.

A multiphonic is an extended technique on a monophonic musical instrument in which several notes are produced at once. This includes wind, reed, and brass instruments, as well as the human voice. Multiphonic-like sounds on string instruments, both bowed and hammered, have also been called multiphonics, for lack of better terminology and scarcity of research.

Bariolage is a musical technique used with bowed string instruments that involves rapidly playing alternated notes on adjacent strings, one of which is generally left open, thereby exploiting the different timbres of each string. Bariolage may involve quick alternation between a static note and changing notes that form a melody either above or below the static note. The static note is usually an open string note, which creates a highly resonant sound. In bluegrass fiddling the technique is known as "cross-fingering".

Sequenza is the name borne by fourteen compositions for solo instruments or voice by Luciano Berio. The pieces, some of which call for extended techniques, are:

Sequenza XII is a composition for solo bassoon, written by Luciano Berio in 1995, and part of a series of fourteen Sequenze composed between 1958 and 2002. The work was written for, and dedicated to, the French bassoonist Pascal Gallois, who gave the world première on 15 June 1995.

Sequenza IV for solo piano is the fourth in a series of solo Sequenze by Luciano Berio that started with the publication of Sequenza I for solo flute.

Kol-Od is a composition for solo trumpet and chamber ensemble by Luciano Berio. The ensemble consists of 3 flutes, oboe, 4 clarinets, 2 saxophones, bassoon, 2 horns, 2 trumpets, trombone, tuba, celeste, accordion and strings.

<span class="mw-page-title-main">Luciano Berio</span> Italian composer (1925–2003)

Luciano Berio was an Italian composer noted for his experimental work, and for his pioneering work in electronic music. His early work was influenced by Igor Stravinsky and experiments with serial and electronic techniques, while his later works explore indeterminacy and the use of spoken texts as the basic material for composition.

<span class="mw-page-title-main">Jazz trombone</span> Role of the trombone in jazz music

The trombone is a musical instrument from the brass instrument family. Trombone's first premiere in jazz was with Dixieland jazz as a supporting role within the Dixie Group. This role later grew into the spotlight as players such as J.J. Johnson and Jack Teagarden began to experiment more with the instrument, finding that it can fill in roles along with the saxophone and trumpet in bebop. The trombone has since grown to be featured in standard big band group setups with 3 to 5 trombones depending on the arrangement. A person who plays the trombone is called a trombone player or a trombonist.

<span class="mw-page-title-main">Horn (instrument)</span> Brass instrument

A horn is any of a family of musical instruments made of a tube, usually made of metal and often curved in various ways, with one narrow end into which the musician blows, and a wide end from which sound emerges. In horns, unlike some other brass instruments such as the trumpet, the bore gradually increases in width through most of its length—that is to say, it is conical rather than cylindrical. In jazz and popular-music contexts, the word may be used loosely to refer to any wind instrument, and a section of brass or woodwind instruments, or a mixture of the two, is called a horn section in these contexts.

<i>Sequenza VII</i>

Sequenza VII is a composition for solo oboe by Luciano Berio, the seventh of his fourteen Sequenze. The sequenza calls for extended technique. In 1975, Berio used Sequenza VII as part of Chemins IV, which included an orchestra of eleven string instruments. In 1993, Claude Delangle adapted the work for soprano saxophone, naming the revised work Sequenza VIIb.

References

  1. 1 2 3 "Sequenza X Comes Full Circle". International Trumpet Guild. Feb. 17, 2008. http://old.trumpetguild.org/news/08/0813cassoneberio.html.